When I first started to pick apart Anthracite by Harmonic Dirt , I did so just instrumentally. The first track really pulled me in with sweet and simple instrumentation, angelic vocal harmonization and a catchy chorus. I dove deeper into the album and started to pick apart each song lyrically and found that it’s somber – Like really, really sad, in a good way!
Harmonic Dirt was created by Mike Gridley and Susan Coleman, who began writing songs together about two years ago. Coleman wrote the lyrics, Gridley put them to music and sent their creations off to friend and percussionist, Taylor Bucci. They saw the potential they had as a group, went off to record and just a few months later, created a full length album. ‘This endeavor is a testament to the power of confidence, the magic of compatible musical visions, and blind faith,’ said the bands bio.
They pull inspiration from Son Volt, Wilco, Neil Young and other heavy hitters of the sixties folk-rock genre. Not many aspiring musicians make music like this anymore. In an era of four on the floor song about partying, mumble rap about money and women, or even jam bands playing 15 minute songs, where 95 percent of a track is the guitarist shredding away, it’s good to fall back on genres like this; where we slow down, simplify, and focus on the more somber parts of life. Harmonic Dirt delivers that.
“Please,” could absolutely be an unreleased Neil Young song – the formula is there. A sweet, major chord progression and harmonica are the ideal welcome-matt to invite listeners into what Harmonic Dirt has to offer. The chorus is the absolute best part. The groups vocal harmonization is addictive and well done, but it’s a shame this is really the only time we hear it on the album.
“Anthracite” is another key track. They again capture the sound of the best folk rock artists, with sultry guitar riffs, catchy harmonica hooks and some very somber lyrics. We hear a story about about deceased coal miners? Perhaps, someone working in a mine that has passed? Is it depressing? Absolutely. But it’s good to get in touch with those emotions and to hear about other people’s hardships and loss.
“Maybe” is another one listeners should spend some time dissecting. We get some flavors of 60’s pop – The Beatles definitely shine through on here instrumentally and lyrically, as we hear about complex relationships. It’s a common theme these days, but stories aren’t usually written in this way. It’s a nice change of pace.
This may differ compared to what’s being released lately, but it’s worth trying. Sample this album out at the end of a long day, as a way to wind down. It may be a little melancholy if you look into the lyrics, but it’s softened by the peaceful, and simplicity of, instrumentation, which can make dealing with sadness and somber thoughts just a little easier.
Toronto quartet Wild Rivers returned to Rochester after their set this summer opening for Donna the Buffalo at the outdoor party, Band on the Bricks. Now it was winter, and the eternally gray skies were falling in the form of cold rain. The venue was cozy and warmly lit. Good Luck and the crowd was the highly attentive audience who frequent Honest Folk’s productions. Dancing feet were replaced by listening ears and Wild Rivers’ brand of poppy folk would hold strong across that divide.
They opened with their first written song, “Wandering Child,” a song which opened quietly before exploding with a full folk sound. Later, they introduced “Moving Target,” which is still two-weeks out from officially being released. Guitarist Khalid Yassein switched to keys and the band went fully electric, becoming more moody and ethereal. The set closed with a stunning, near-acapella, front-of-stage performance of “Howling.” Wild Rivers performed songs oldest to newest, electric to completely un-mic’d acoustic and the rest of the set was a healthy blend of everything in between.
Yassein and bassist Devan Glover traded lead vocals song to song and verse to verse. In the moments when their criss-crossing met with two-part harmonies, musical sparks ignited. Lead guitarist Andrew Oliver added in tastefully restrained yet intricate leads and also took over on bass for a couple tunes. Drummer Julien Laferrière kept everything humming along, from the slowest slow to rocking highs, matching the mood perfectly throughout.
Local singer-songwriter Cammy Enaharo opened the show with a short set. In the Swiss-Army-Knife of the Rochester music scene Enaharo has been a go-to vocalist for bands of every ilk. But tonight, it was just her and a baritone ukelele. Her rich and smooth voice was more than capable of carrying the day. Put them in front of her honest and personal songs and 30 minutes just had us hungry for more. Originals like “Neighbors,” “Home,” and “Mermaids” matched wits with her emotional cover of Desiree’s “You Gotta Be.”
If you like to see live music, but are not a fan of standing around in a crowded bar waiting around until late at night for the bands to finally take the stage, give Honest Folk a try. They start promptly around 7pm and don’t ever go past 10pm, so even on a weeknight you’ll be home at a reasonable hour. The shows are seated, the decibel level doesn’t require earplugs and most importantly the music is top notch. Their next show is March 12, back at Good Luck, featuring Dead Horses and Honeysuckle. Tickets are on sale now at early bird pricing.
Every now and again, a local NYS band will come from seemingly nowhere to drop an album with next level performances. Come January 12, one such band will release a 5-track album that has potential to impress rock fans not just in NYS, but around the country. Tortoise Forest is a Buffalo-based quartet whose sound resides somewhere in the realm of Porcupine Tree, Dream Theater, and Umphrey’s McGee. A mixture of prog with aspects of jam, dub, and jazz give the group an eclectic sound that departs just enough from its classical music roots to create something exciting and new sounding. Their self-titled release, Tortoise Forest, offers a great re-imagination of the live versions of some of the tracks that the band has been playing for a while. This gives each piece a well crafted structure and a huge range of dynamics and aesthetic. The band’s current lineup is comprised of Dan Gagliardi (drums), Tom Varco (bass), Mike Cassidy (guitar) and Max Davis (guitar). This first release from Tortoise Tree actually features their past drummer, Laith Al-Khalidi, but the chemistry of this group on the album does not waver despite any pending lineup changes that would occur post-production. As far as albums in 2019 go, this is an incredible start and showcases one of the hidden up and coming gems of NYS.
Tortoise Forest has this very slick way of working in electronic aspects into their music with their use of effects, but even more so, they are able to maintain an untreated sound that borders on a live performance experience. The first song on the album, “140×148,” starts off as a statement for the album in its entirety, offering a smattering of much of what comes later on. This isn’t to say that this reveals too much, but rather that the band does a good job of achieving their sound. A little bit of amp buzz in the background during the opening riff pulls the listener in, and reveals just how real the technical proficiency of the band is. There is no heavy or imposing production here, nor anywhere else on the album. The performances are what take the spotlight. A heavy set of drums give pulse to the groove and cuts up the intro guitar section to create intrigue and some build. A layering of shimmering guitars creates a lush ambiance for a lead guitar to come in screaming over top of the established rhythm. A build about two minutes in takes the song in a more visceral direction, which eventually changes course to a funkier groove with the progressive edge that characterizes the band. Guitar duets develop a smattering of motifs and melodies, giving character and life to each theme that Tortoise Forest explores. A climactic tapping duet between the guitars helps bring the song to a softer ending. From the first song alone, it is clear that the group has set forth on an ambitious project with how clean and well performed the intro song is.
The other four tracks do not disappoint in any aspect. Every song features a variety of ideas and timbres that keep the songs from getting redundant. The composition of “Mooncones” is a great example of this. The bass in the beginning of the track is subtle, grooving quietly underneath the soundscape set up by the guitar harmonies. As the song builds, the bass becomes more apparent and begins to shape another aspect of the song that wasn’t there initially. They write these builds in that are more angular as opposed to linear, with different instruments coming in and out of focus without ever completely dissipating. Every piece matters in the context of the entire song.
The guitar duo also do an incredible job of using their effects pedals tastefully. The band is aware of this and leverages it appropriately. The inflections and nuances added to the riffs separate the phrasing of their lines from being clean, sweep-picked arpeggios to pieces of a conversation where every inquiry has an equally impressive and important reply. The timbre of the guitar parts speak just as loud as the content of the notes. Perhaps a bit more bite will be added to a guitar line that sits on a grimier bass; sometimes the use of a whammy pedal will be the driving force of a guitar line. Overall, their usage of pedals on top of the already very proficient performances separates these guitar players from the likes of players such as Plini.
Much of the album is very serious, even without lyrics. The mood is often heavy and the theory behind some of the modulations can be hard to grasp on first listen. This really only gives the listener a reason to listen again. But don’t be fooled by the heavier tone of the album, the band can have fun and they do a good job of keeping the songs accessible. There are little additions here and there that inject much character to these instrumental tracks. A couple of lines from a well known Aesop’s Fable make an appearance, as well as a tease of “Streets of Cairo.” The band performs without so much as a hiccup. Each song is a combination of a hurricane and a sunset. Tortoise Forestis bound to turn heads in 2019. The album drops on January 12 on all major streaming platforms. Tortoise Forest will be playing their album release show at Mohawk Place in Buffalo the same day and will have hard copy CDs available for purchase.
The 40th Anniversary Blues Music Award nominations have been announced by The Blues Foundation. Nominees in twenty-five different categories will converge in Memphis on May 9th 2019, at the Cook Convention Center for the award ceremonies and artist performances.
Several Blues Music Award nominees appeared in Central New York venues within the past year, including The Westcott Theater, Funk ‘n Waffles, Wakely’s, the New York State Blues Festival, Dinosaur Bar-B-Que, and the Chenango Blues Festival. The nominated artists that appeared at these venues are
Larkin Poe – Band of the Year,
Samantha Fish – Contemporary Blues Female Artist, and Contemporary Blues Album – Belle of the West,
Danielle Nicole – Contemporary Blues Female Artist, and Instrumentalist – Bass,
The staff of NYS Music is always on the lookout for music by New York State-based bands. We are excited to introduce our new Spotify playlist which feature music from some of the state’s biggest artists, as well as many up-and-coming local acts that you should be listening to.
We are constantly adding to the Spotify playlist and are welcoming submissions via our Submission Form. We are only considering submissions made by, or for, NYS-based artists and musicians.
SWMRS, California based punk-rock band has announced a nationwide headlining tour with support from The Regrettes and Beach Goons, including two stops in New York State.
SWMRS draw on influences ranging from The Ramones to The Beach Boys and have created their own brand of punk/surf-rock. The North American leg of the The “Berkley’s On Fire Tour” commences March 28 in San Diego, and will comprise of stops in Dallas, Las Vegas, Washington, Boston, Chicago, and many more. The two New York stops include April 11 at Brooklyn Steel in Brooklyn and April 13 at The Westcott Theater in Syracuse. Previous to the North American tour, SWMRS will be touring in Europe and the United Kingdom.
Tickets go on sale this Friday, Jan. 11. SWMRS’ new album, Berkley’s On Fire is available for pre-order now. Fans that purchase a pre-order will get access to a ticketing pre-sale starting Tuesday, Jan. 8. Full album and tour info can be found here.
The Governors Ball Music Festival will hold its 9th event over May 31-June 2, taking place at Randall’s Island Park in New York City. The impressive line up includes Tyler, the Creator, Florence + the Machine, Kacey Musgraves, Charlie XCX, Lil Wayne, The Strokes, Lily Allen, The 1975 and many more.
Starting today you can visit the Governors Ball Music Festival webpage to get special “Announce Day” priced tickets for the event that ends at 11:59 p.m. as well as the full line up for the event. Regular pricing begins at midnight on Jan. 8.
The Governors Ball is a New York grown and cultivated festival that has proven to be one of the country’s most successful festivals in its previous eight years of existence. The festival prides itself on community engagement, working with and donating to numerous non-profits and community groups each year.
We’re all lucky it’s been a pretty mild winter so far this season. Even so, Cousin Earth invited some friends to the Knitting Factory on January 5 for their annual Wintercourse celebration and they brought the heat.
Brooklyn-based outfit Bushicks started the night off strong with their original spread of rock and roll, staying true to the classic genre. Chunky guitar riffs, no-nonsense lyrics, and a hard-hitting rhythm section of John Adamski on drums and Jessica Bogwicz on bass really drive this three-piece. Front-man Jonny Patrizio shredded his way through the ten-song set featuring mostly originals, a song debut, and some special guests. Saxophone player Dan Visintainer lent his horn skills all throughout mid-set on “BioFunk,” “No Goal,” and an ode to the Bushicks music influence in “Rock Rollin’.”
Former Bushicks vocalist David Schnurman aka “David The Goliath” then took the spotlight behind the mic in his first hometown performance back with them for “No Buts About It.” In a triple threat to close out the set, the trio blasted through their very first single “Truffle Shuffle” before debuting a flawless take on the Rush classic “YYZ.” Finally, Joey Calfa of Cousin Earth appeared on stage while SUNY Oneonta professor Mark Pawkett was brought up for a blazing rendition of Frank Zappa’s “Black Napkin.” As the leader of the SUCO (State University College at Oneonta) Frank Zappa ensemble, Pawkett served as a mentor to Patrizio, Calfa and Nate Searing of Cousin Earth, all of whom were enrolled in the Zappa cover band Mothers of Intention. It was an emotional throwback, solidifying Pawkett’s success as a teacher.
Set break music was provided live in the form of a Teddy Midnight DJ set provided by Teddy Midnight bassist Sean Silva, also a student of Mr. Pawkett. In previous years of Wintercourse there has been a comedian MC’ing between bands, but this year, Corey Feldman took the reigns and introduced each band by displaying hilarious photos of their members in front of the stage.
Next up was the incredibly high-energy Funky Dawgz Brass Band of Connecticut. As the rhythm section of tuba and drums laid down the first groove of the set in “I Like It,” the rest of the six-piece horns came out dancing which quickly spread throughout the willing audience. From the bands anthem “Dem Dawgz” to the party track “Beyond the Void,” the Funky Dawgz showcased their infectious mix of NOLA funk, R&B, and twists on classic pop hits. As the crowd inched closer to the stage, an all-out dance party broke out for Michael Jackson’s “Don’t Stop Til You Get Enough” before trumpet player Aaron Eaddy took a turn with vocals on the hip-hop track “Live Ya Life.”
Each member of the band was given time to shine as they traded solos throughout the hour long set, mixed vocal melodies with horn parts, and hyped up the crowd. Taking advantage of the welcoming listeners, saxophonist Tommy Weeks hopped off stage and weaved his way through the crowd during a peaking solo. The Funky Dawgz didn’t let up once, keeping the crowd moving and energy way up as they closed the set with “Love Don’t Cost A Thing.”
After a short break, the night’s hosts “Cousin Earth” quickly set up and opened their Wintercourse set with the Queen staple “Bohemian Rhapsody,” highlighting newest member Melissa Goscinski’s beautiful falsetto, much to the delight of everyone in the room. With their unique ukulele arrangements and stage antics, Cousin Earth provided a set full of surprises. “When The Dinosaurs Come Back From Outer Space” saw the appearance of a dancing dinosaur in the crowd before they launched everyone back into the stratosphere with the dance track “Super Fun Laser Beams.” The funky “Alive,” from the recently released album Human Music, paved the way for former vocalist Tara Lawton to come out and rejoin the group on Aretha Franklin’s “Rock Steady.”
The whole Cousin Earth family was in high spirits, joyously singing and dancing together before breaking out into an rocking “Outrage” by Soulive which saw Calfa trade his ukulele for an electric guitar. Continuing in their space-themed tradition, a new song was offered in “Please Don’t Kill Us,” a humorous plead to extraterrestrials to spare planet Earth. “Soft Shell Crab Nebula” took things up one last notch before The Beatles’ “Helter Skelter” ended the nearly 80-minute set and brought us all home.
Shortly after midnight, and with the crowd still eager for more, Bella’s Bartok gladly provided. Bassist Dan Niederhouser noted the Massachusetts band’s love of playing in New York City and it was obvious the feeling was mutual with the Brooklyn crowd. Kicking off with “The Strigoi Waltz,” the six-piece band of gypsy-rockers captivated the audience with their speakeasy attire and lively stage presence. It was a fitting set for the late night crowd as fans sang along and swung to “Frankenstein’s Monster” and “The Fiddler and The Devil” as if they were suddenly transported to a dance saloon, if there ever were such a thing.
Toward the middle of the set in “Satan’s Song” the band had already weaved their way through a genre bending selection of original material, commanding the music like a witchdoctor. Singer Asher Putnam hypnotized the venue during the circusy “Masquerade” and joyously lead the Beetlejuice-infused dance party on stage through “Creepster,” “Bones,” and “Zora.” With such unique theatrics and an array of influence, it’s difficult to describe Bella’s Bartok other than completely original. They have managed to take Eastern European folk sensibilities and mix them with Americana, pop, and punk traits, all while keeping the vibe fun and joyful.
The crowd was left fulfilled and spent as the 8th year of Wintercourse proved Cousin Earth knows how to throw a post-New Year’s party. Going on almost a decade for this event, one thing is certain: everyone loves having Wintercourse.
Princess Nokia released Metallic Butterfly on 14 Dec. 2018. The album travels through most of the musical spectrum from radio pop to modern trap with glimpses of Afro-Cuban and soul, tied together by obscure, but smooth sing along – friendly choruses.
It’s difficult to say whether the public should treat MetallicButterfly as a new body of work. Nokia created the album before 2014 and had distribution under Nokia’s original moniker, Wavy Spice — however, the work went largely unnoticed at the time and was pulled from shelves and the internet until now. The 2018 edition launched with redux packaging, promotion, and new tracks.
This project stays unique but maintains accessibility. “Earth is My Playground” and “Versace Hottie” are true to their bouncy titles, both carrying the feel of an electronic rave. The melody of “Hands Up” tributes Lana Del Ray’s sultry croon, and the boom-bap percussion on “Seraphims” is a cousin to J. Dilla’s frantic work with A Tribe Called Quest. Most songs find the perfect balance between vintage and modern with 808 sub hits weaved in and out.
The album slows down on “Young Girls,” a chillstep track where Nokia addresses modern issues relevant to #MeToo and #TimesUp movements, discussing her feelings about the entrusted responsibility of women to be the “patrons of the earth.” “They need their own respect,” she says.
The slow, but progressive side continues with “Biohazard Butterfly” which introduces further melodies and encourages her listener to not settle for a toxic relationship. “She don’t wear no chain, play no game, refuse to be a slave to a romance rage.”
Although albums are typically praised when they fit a continuous theme, it is the “all over the place” manic feel of this body of work that gives it such strength. Although it may have been recorded earlier in her career, this could certainly be Princess Nokia’s strongest album to date.
Metallic Butterfly is available on all major streaming platforms.
On December 30 at the brand new Sony Hall in Times Square, Ghost Light continued their New Years run with a sold out show, capping off an amazing 2018 for this brand new super group.
Consisting of Tom Hamilton, Holly Bowling, Raina Mullen, Steve Lyons, and Scotty Zwang, these amazing musicians have a clear ambition to take their original songs as far as possible in the realm of improvisation, with each musician bringing their own style to the table. With a brand new album out and a full year of shows and festivals under their belt, Ghost Light is in for a bigger 2019.
